Above the pediment is a very large stucco scallop-shell, fitted into the curve of the vault. According to Juvenal, the emperor then helped himself to the "impressive houses of the Laterani" which might (or might not) have included a residence here. Il suo nome completo è Arcibasilica del Santissimo Salvatore e dei Santi Giovanni Battista ed Evangelista, e sorge nei pressi del monte Celio, a Roma. The mediaeval tradition was that this structure gave the measurement of the stature of Christ. Let not the number or type of his sins frighten the one born in this flow, he will be saved".). Die Basilika ist das älteste Kirchengebäude Roms, doch ein schweres Erdbeben im Jahr 896 zerstörte groÃe Teile der ursprünglichen Basilika. The main organ is over the side entrance at the right end of the transept, leading in from under the Loggia of Benedictions. Unfortunately it has solid wooden doors, and if these are locked you cannot see anything. Photos are here. In the centre there is a massive eleventh plinth with concave sides, bearing the Chi-rho symbol in a wreath as an allusion to the conversion of the emperor Constantine. The altarpiece depicts The Martyrdom of St Justina. The work was only finished in 1650. Over the entablature is an attic from which the vault springs. The monument has a black marble epitaph tablet in an molded white marble frame, flanked by a pair of verde antico Corinthian columns supporting a broken triangular pediment. At the ends of the plinth supporting these items are two spirally incised columns. depict the twelve Apostles, with St Paul instead of St Matthias. The loggia portal arches have molded archivolts springing from two pairs of Composite imposts, which match those of the trabeations below. Then, round the corner of the palace on the right, is the main façade of the basilica overlooking the large trapezoidal grassed area of the Piazza di Porta San Giovanni. The spandrels of the triumphal arches have frescoes of Doctors of the Church. To the sides are two modern bronze sculptures of deer, commissioned by Blessed Pope Paul VI. The contemporary viewer may well add: "What view?". The original location of this is claimed as the Pantheon -Santa Maria ad Martyres- and by tradition it was the cinerary urn of Marcus Agrippa. A ceiling was provided around the new dome, in gilded wood with carved figures of Christ, Our Lady and SS John the Baptist and John the Evangelist. The entablature over the arcades is continuous, without a break, and is posted out over the piers The narrow architrave has a Cosmatesque mosaic in geometric designs, except for the south side which has a damaged epigraph extolling the virtues of the cloister. Another mediaeval tradition is that it was here that Pope St Gregory the Great (590-604) first transcribed the Gregorian chant used in choral liturgical offices in western Europe from the early Middle Ages (in actual fact, the developed monophonic chant familiar still in some monasteries was a later development). In the early part of the fourth century, the Laterani family were stripped of their land as one of their members was accused of conspiring against the Emperor. Borromini provided a cenotaph and included the salvaged epigraph tablet, but this aedicule was also destroyed when the Hungarians provided the present monument in 1907, the architect being Gzila Nalder. The apse was completely rebuilt, and it might have been at this point that an ambulacrum was provided running round the outside of the apse, instead of in the time of Pope Leo I. https://rome.us/churches/basilica-san-giovanni-laterano.html The original 14th century reliquaries were by a goldsmith called Francesco di Bartolo, but they were melted down on the orders of Pope Pius VI in order to pay an indemnity imposed by Napoleon in the Treaty of Tolentino 1797. The weird thing about this spectacular throne is, that Pope Leo never even saw it. This especially applies to the stucco work. The side aisles have lower roofs, which are now flat, and the apse is roofed in lead. This lower register is separated from the upper by a single-line epigraph recording the commissioning of the original mosaic by Pope Nicholas, and from the large epigraph below by another little single-line text which proclaims that the seat beneath is reserved to the Pope. The odd thing about the prothyrum is, that it is an add-on to the overall design. The latter pope features in one of several bronze busts here, which also depict Popes Paul V, Benedict XIII and Clement XII. It bears a central medallion showing The Baptism of Christ. Throughout the centuries, St John Lateran has survived several fires and an earthquake in 897. Above these reliefs are frescoes of prophets in oval tondi, executed in 1718 by a team of artists. The north end of the transept was given a proper façade, involving a large Gothic arched doorway with several orders of molding and a tympanum, over which was a small round window and then a cavetto cornice which curved outwards. Pope Sergius III (904–911) had the basilica completely restored because of the earthquake damage. Before the late 19th century, the sanctuary apse opened onto the transept. Cardinal Lucio Sassi 1604. He did this in his encyclical Rerum novarum, in which he dealt with the moral question of human work in a systematic manner. The curved wall below this, behind the monument, is revetted in yellow marble. The decorated panels flanking the columns have a musical theme, on a background of verde antico. Pope Eugene IV (1431–1447) oversaw the completion of this restoration project. Pope Leo III has a square nimbus, showing that he was alive when it was made. Its construction entailed the demolition of a previous little chapel like the Cappella Orsini, which had frescoes by Sebastiano Conca. Die Erzbasilika des San Giovanni in Laterano . Pope Leo's own monument is by Giulio Tadolini 1907. It now stands on two circular steps, which are modern. The upper part depicts the bust of Christ in a dark blue empyrean with the red clouds of dawn, accompanied by four angels on each side and with a six-winged seraph above. There are four storeys. This aedicule contains the cardinal's original epitaph in the lower centre. These were the first of many subsidiary chapels and churches around the basilica in the Middle Ages. The modern opinion is that Cordier and Il Valsoldo did most of the work. A pair of blind Gothic arches with two-light tracery on geometric mosaic flanks a sculptural relief with a mosaic background containing many gilded tesserae. (1878) -1903). The work was by Giuseppe Lucchetti. The frontal has vaguely Cosmatesque detailing, with four little barber's pole columns dividing the field into three. Here, Christ is being depicted under his aspect of the Rising Sun (Malachi 4:2, Luke 1:78). The western chapel has an oval (egg-shaped) dome, tiled in ten sectors. A second, higher pair of posts embellished with festoons flanks the archivolt, and support a horizontal cornice on which is a Symbol of the Trinity (that is, a triangle) in a gilded glory with floral swags. This last feature was drawn by Heemskerck, but without a mosaic (the idea of the curve is that a mosaic would not seem fore-shortened to somebody standing in front of the door). The 20th century floor has an interesting pattern in polychrome marble tiles, designed by Ildo Avetta. Whoever you are who come to this tomb with the light fading, say 'Almighty God, have mercy on him'!"). Also there is a processional crucifix, dating from 1451 but close to the Romanesque in style, with biblical scenes (photo here). To the right of the chapel in this storey is the church of San Lorenzo, and behind the chapel is a devotional area also open to the public (the Sancta Sanctorum is only open to guided tours). They were not a transept, and seem to have been in the wrong place to be pastophoria or side-chambers for the storage of liturgical items and the preparation of the liturgical elements. These revealed the remains of the barracks of the Equites singulari, which are substantial because of the way that the rooms of the edifice had been packed with rubble to form a platform on which to build the basilica. The same pope also ordered a major re-ordering of the baptismal arrangements. The baptismal font of the original baptistry was situated exactly in the plunge-pool of one of the two frigidaria (chill-out rooms) of the original bath-house. From 1772 it was kept in the sacristy. The consensus on the event depicted is that it was the opening of the Jubilee, with the cardinal possibly being Francesco Caetani. Above this in turn is an oval fresco tondo in a lush floral wreath. The sculptor was Giuliano Finelli. An 18th century copy of apse and mosaics is near the Scala Santa, but not on the original site which was nearer the basilica's façade and faced the other way. Jesus Christ and SS John the Evangelist and John the Baptist, Borromini, Alessandro Galilei, Virgilio Vespigniani. Right end, east wall. Pope Gregory XVI (1831–1846) set up the Museo Profano Lateranense here in 1844, the collection comprising pagan Roman statues, relief sculptures and mosaics. 06.98.86433). In 1120, the aqueduct of the Aqua Claudia was repaired to bring water to the complex. The colonnades of the central nave had become dangerous (the ancient granite columns were probably cracked and spalled by fire), and were now systematically replaced by brick piers with arcade arches instead of a horizontal entablature. Here, the damage was quickly repaired by 1996. Cardinal Guala Bicchieri put up a large sum for their completion in 1230, and the work was finished by Niccolò in 1234. You could remove it, and not deduce its absence from what would be left behind. This is because the entablature over the arcades contain gargoyles (water-spouts), indicating that the original roofline was just above. These are linked by swags hanging from flaming torches. He built the Loggia of Benedictions (Loggia delle Benedizioni) which was attached to the north end of the aula concilii, and was a spectacular raised balcony over the aula's entrance. It was a pity that these were removed. and Gregory the Great by Nebbia. Only the gilded ceiling and the Cosmatesque floor were kept, although Borromini had intended to provide a vault for the central nave. Two pilasters in the same style support the entablature on each side. There are a total of nine of these, five in the right end and four in the left end. The cloisters have an entrance off the far end of the outer left hand aisle, just before the transept. English name: Bay VII West has two bronze panels from the gateway doors of the Lateran Palace, made in 1196 by the same craftsmen who executed the doors of the chapel of St John the Evangelist at the baptistery. The 5th century entrance portico was remodelled by Pope Anastasius IV in 1154, when the two transverse apses were converted into chapels and the portals given two screen walls and a doorcase. The central second-storey void above the balcony has a central arched section flanked by a pair of trabeations (horizontal bits); this design feature is called a serliana. ("Here a people and city, intended to be sacred, is born from a nourishing seed, which the spirit brings out from fertile waters. The design was by Teodoro della Porta, and the sculpture was by Giacomo Laurenziano. The obelisk stands on a tall limestone plinth. The inner pair of these flank the main entrance, which inside is set into an arch having a long epigraph celebrating the restoration by Pope Innocent X in its tympanum. It was repainted in the following century, and installed here perhaps in 1684 (the documentary source is ambiguous). The entablature supports eight light grey marble Corinthian columns, which in turn support the wooden dome entablature. To the left of the entrance to the chapel is the tomb of Pope Innocent III , made by Giuseppe Luccheti in 1891 on orders from Pope Leo XIII. Le statue degli Apostoli in San Giovanni in Laterano trovano posto in dodici nicchie che Francesco Borromini dispose nella navata centrale della Cattedrale di Roma nella seconda metà del Seicento. It is thought that these spearheaded the clearance of the ruined city neighbourhoods on the hills, and turned them into vineyards -drinking well and river water was dangerous to the health, hence the ready market for wine. These were designed by Rainaldi, and sculpted by Giacomo Antonio Fancelli. The sculpture was inaugurated in 1927 on the seven hundredth anniversary of the death of the saint, and is here to commemorate an event from his life. The garth or central garden has had some major makeovers in the last two centuries. Its entrance entablature bears two inscriptions: Erunt aspera in vias planas ("The rough places will become level ways") -Lk 3:5, and Hilarus episcopus plebi Dei ("Hilary bishop to the people of God"). The roof was open, with trusses (in contrast to ancient Roman basilicas, which were vaulted in concrete). These cloisters were built from new and decorated in the Cosmatesque style by the Vassallettis, father Pietro and son Niccolò. ], gave this famous one to the world. Many pilgrims come here to climb them, always on their knees, while contemplating on the Passion of Christ. The original access door from the baptistery was then turned into the main public entrance of the latter, which it remains. This structure was to function as the basilica's sacrarium or vestry for centuries, until demolished in the 17th century. The transept has five bays, a wide and square central one as the crossing and two narrower ones on each side corresponding to the ends of the side aisles. There were further restorations by Domenico Castelli and Borromini in the 17th century, and again in 1772. As the Bishop of Rome and successor of Peter, the Pope serves the whole Church all throughout the world. The world weps, peace runs away, the wobbling triumph of the Church gives up rest. Above the entablature on the far wall is a large fresco of The Transfiguration by the Cavalier d'Arpino. There is uncertainty and argument as how much of the original 4th century brickwork remains in the fabric, with some thinking that there is very little. In 2006, Pope Benedict XVI abolished the title of “patriarchal basilica” formerly also given to these four churches. At the bottom of the far right hand side aisle, next to the Holy Door, is the tomb of Paolo Mellini. To the top left there is a relief of a pope holding a globe and standing in front of a Gothic façade with two towers -thought to be a representation of the mediaeval basilica. The bronze tomb-slab of Pope Martin V (1417-1431) is the major item of interest here. Fons hic est vitae qui totum diluit orbem, sumens de Christi vulnere principium. Touring Club Italiano Milano MI, Italy. In 1967, there was a rather destructive restoration which left the interior mostly in bare brick. Mergere peccator sacro purgande fluento, quem veterem accipiet, proferet unda novum. The reason for the aperture is that under the mensa is preserved the alleged wooden tabletop on which St Peter and his successors are said to have celebrated the Eucharist right up to the time that the basilica was built. Der Name âLateranoâ leitet sich von dem Nachnamen âLateranusâ ab. A close-up of the surviving mediaeval elements is here. Die Fresken an der Decke sind ein Entwurf von Michelangelo, wurden allerdings von seinem Schüler Giacomo della Porta ausgeführt. The edifice had been seriously abused under the batrachian occupation government of the French under Napoleon from 1808 to 1814. Subsidiary dedications are to SS John the Baptist and John the Evangelist, hence the full name. It was as a result of Borromini's restoration that the church was given its present Baroque appearance, and it no longer looks like ancient basilica. This has been described as a complete rebuilding on the old foundations, but this is disputed. Pope Sixtus had a bronze cross put on top instead, set on stylized mountains, a star and four pear-holding lions which occur in his coat-of-arms (the mountains and star originated with the Chigi family, although he was a Peretti -hence the pears). He also proposed the demolition of the palace to provide materials for the future repair of the basilica -it is obvious that the vast old complex was now derelict. The monument has a recumbent effigy, above which Borromini created a trompe l'oeil looking like a coved back-wall when it is actually only slightly curved. The famous set of eight columns in imperial porphyry which surround the original plunge-pool are not matching, but are of slightly different lengths. These arches have simply molded archivolts springing from Doric imposts, and with a single row of square coffers on each intrados. This register flanks the incredibly ornate Cosmatesque episcopal throne (picture), which stands on five steps themselves having Cosmatesque decoration on the risers. There follows a second little chapel, dedicated to St John the Evangelist. (Beware of the Vatican website's list, which has one of the sculptors crawling out of his tomb to do the job after being dead for fifty years. All of this is in unpainted and varnished wood. The oldest chapel is a 13th century rebuilding of an older structure, and is known as the Sancta Sanctorum, or Holy of Holies. Modern writings are obviously relying on Nibby 1838 and Vasi 1818. The doorcase has a triangular pediment on top of it, unsupported by any columns or pilasters. The latter are shown explicitly as suffering in Rome, as it was their martyrdoms that first turned the city into a holy place. The right hand chapel was originally dedicated to SS Andrew the Apostle and Lucy, but was re-dedicated to SS Cyprian and Justina when their alleged relics were enshrined under the altar. It was formerly used as the relic treasury of the papal palace, and allegedly held such relics as a bit of bread from the Last Supper, St John the Baptist's coat, St Matthew's shoulder, St Bartholomew's chin, and the heads of SS Peter, Paul, Agnes and Euphemia. The altarpiece is a Calvary by Girolamo Siciolante, Il Sermoneta. Opposite is a monument to Cardinal Leonardo Antonelli 1811, who was his nephew. Three porphyry columns supported an entablature, on which was the balcony proper which had a single large trefoil opening over a solid carved marble balustrade flanked by a pair of columns in verde antico. The entire roof of the central nave fell in. The sculptor's reliance on Bernini is immediately obvious. The central nave is flanked by two aisles on each side (in the English way of describing a church like this, although the Italian equivalent is "five naves"). Also, these two arches have the Pamphilj heraldry on their keystones. Two are Ionic, two Corinthian and two Composite. You have already met a stucco copy of this. Each of these has a Papal coat-of-arms in bronze, the central one being over a circular stellated aperture. Diese Treppe soll ursprünglich Teil des Hauptquartiers von Pontius Pilatus in Jerusalem gewesen sein. On entering from the basilica, you find yourself in Bay V North. To the left of the chapel entrance, at the bottom of the outer left hand aisle, is a memorial to Riccardo degli Annibaldi. They assembled in a large meeting-hall which stood on the west side of the palace courtyard north of the basilica, and was fifty metres long with five apses in each side wall and one in the south end where the pope presided as chair. 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